2012年3月4日 星期日

Nothing just Happens, but Everything just Happens——《繼承大丈夫》(The Descendants)

當你一覺醒來,驚聞妻子遭逢意外,命不久矣,你趕回「家」中,欲盡丈夫責任,修補家庭關係,才發現這個「家」早已不成「家」︰幼女人細鬼大,冇時正經;長女放縱反叛,還交上了豬頭男友,而最可怖的還在後頭——躺在病床上的老婆,原來早就暪著你搞婚外情,還想過拉外遇遠走高飛,知情好友卻不跟你說,連外父也怨你不好好照顧老婆。這時你會怎麼做呢?找情敵大打一身?拋妻棄女借酒消愁?老婆快要死了,你能原諒她嗎?在你既苦惱又痛心之際,身後還有高達數億的家族地產要你處理,到底是賣地發大財,與全族齊齊享福,還是繼承家族對祖地的感情,保衛青山綠草?當你這樣醒來的時候,你才明白「中年」到底是怎麼一回事——家族/家庭重擔自然由你來繼承,而你自己在少年時候做的孽,還有下一代所有的煩惱,也一併承繼到你肩上,你再也不能是無腳的小鳥,亦不能只知埋首工作,你必須站出來,挺起胸膛勇敢解決。怎樣解決?常說人貴自知,但更難得的是能將心比心,不了解他人的痛,也就更不能化解自己的苦。《繼承大丈夫》(The Descendants,dir: Alexander Payne,2011)的故事其實是非常淒苦的,它呈現了這樣一個幾近絕望的情境,然而絲毫不沉鬱壓抑,寫實得來又處處透著幽默,而最難得的是編導的智慧——將心比心,談何容易,我們永遠不可能做到面面俱圓,但你若不能直面自己的痛,放下自己的苦,他人只會比你更痛苦,然後加倍堆在你肩上,循環不斷地繼承下去,因此當佐治古尼(George Clooney)在結局對垂死在床已無知覺的妻子說“Goodbye, Elizabeth. Goodbye, my love, my friend, my pain, my joy. Goodbye. Goodbye. Goodbye”,他其實不單原諒了所有的人,也是原諒了自己,儘管眼前生活依然滿佈迷霧,但只要自己不再迷惘,就能重新上路,並感染身邊的人一起面對這個“everything just happens”的世界。《繼承大丈夫》實在很好看,若落在其他導演之手,這樣一個“unique and dramatic situation”,一定會搞得拖泥帶水,或一味煽情催淚。佐治古尼(George Clooney)舉重若輕且充滿智慧的表現,絕對值得憑本片贏一個奧斯卡影帝頭銜,可竟然輸給了擠眉弄眼的尚杜加丹(Jean Dujardin),當真豈有料理。飾演佐治古尼外父的羅拔科士打(Robert Forster)原來已七十歲了,我幾乎認不出他來;其他演員也很好很好,不逐一細講了。本片絕對值得你與至愛親人一起去看啊﹗
“Payne is gifted at using the essence of an actor... What happens is that we get vested in the lives of these characters. That's rare in a lot of movies. We come to understand how they think and care about what they decide. There are substantial moral problems underlying the plot. And George Clooney? What essence does Payne see in him? I believe it is intelligence. Some actors may not be smart enough to sound convincing; the wrong actor in this role couldn't convince us that he understands the issues involved. Clooney strikes me as manifestly the kind of actor who does. We see him thinking, we share his thoughts, and at the end of The Descendants, we've all come to his conclusions together.”- Roger Ebert, Chicago Sun-Times

  “Payne is too acerbic - maybe too much of an asshole - to settle for easy humanism. But he's too smart a dramatist to settle for easy derision. Mockery and empathy seesaw, the balance precarious - and thrillingly so. It's the noblest kind of satire: cruel and yet, in the end, lacking the killing blow.”- David Edelstein, New York Magazine

沒有留言:

張貼留言